The preservation of photographs, and all documents and artworks, depends
on the storage environment and the storage enclosures. Many institutions
have climate controlled storage rooms with purified air, kept at constant
moderate or cool temperatures (e.g., 65-70F) and moderate relative humidities
(e.g., 35-50%). Some institutions even have cold vaults for certain types
of photographs that are very prone to deterioration, such as color photographs
and older films. Unfortunately, these conditions are not easily found or
maintained in homes! However, there are things you can do to improve the
storage climate for your valuable photographs in your home: store your
photographs in the coolest and driest spot in your home that stays that
way year round. Finished basements frequently are cool, but they are usually
too damp for photo storage unless they are dehumidified. Dampness should
be avoided as it causes photos to stick together, and promotes mold growth.
Above ground interior closets maintain fairly constant temperatures throughout
the year, and should be considered for storage.

All plastic and paper materials used to house and store valuable and
heirloom photographs should pass the ANSI IT9.16 Photographic Activity
Test (PAT). (The PAT was developed by the American National Standards Institute
(ANSI) and is a test that determines whether or not a storage material
will cause fading or staining in photographs.) In addition, other storage
materials such as envelopes, folders, sleeves, and boxes should meet the
standards described in ANSI IT9.2 Photographic Processed Films, Plates,
and Papers--Filing Enclosures and Storage Containers. Many manufacturers
make storage materials which meet these two standards and advertise them
in their catalogs.

Look for paper enclosures that are made from a high quality, non-acidic,
lignin-free paper (buffered or unbuffered are OK) made from cotton or highly
purified wood pulps. Paper envelopes with center seams should be avoided--if
the seam adhesive causes fading or staining it will happen in the middle
of your photograph. If you do use an envelope with a center seam, place
the back side of the photo against the seam--any deterioration would have
to work its way through the back before attacking the image on the front.

Look for plastic enclosures made from uncoated pure polyethylene, polypropylene
or polyester (also called Mylar D or Mellinex 516). These are considered
stable and non-damaging to photographs. Polyester is crystal clear and
is more rigid than polyethylene and polypropylene. None of these recommended
plastics have any odor to them, while polyvinyl chloride (PVC) plastic
does have a strong odor (the new car smell). Avoid the use of PVC plastics--they
generate acids which can fade the photograph in time. In addition, the
plastic can stick to items inside and, in some types of photographs (and
printed items such as baseball cards), actually cause the image to transfer
to the plastic. For these reasons, PVC enclosures should not be used for
valuable photographs or those you want to preserve for a long time.

Albums are an ideal storage method for photographic prints, especially
snapshots and heirloom photographs--the photographs can be safely stored
and organized, and safely viewed, without inflicting damage from frequent
handling. Albums should be used to store selected groups of photographs,
as they are expensive and somewhat bulky storage options. Not all photographs
are really worth keeping; snapshot collections should be weeded of poor
prints (blurred images, bad exposures) or less desirable photos (multiples,
poorly cropped images) before housing the best ones in an album or other
storage method (described below).

Besides albums, there are many different types of storage enclosures
designed for the different photographic formats and sizes. These include
folders, sleeves, and envelopes. The choice of enclosure depends not only
on resources but also the frequency that the photos will be handled for
viewing and their current fragility. In general, if a photograph is handled
frequently or is fragile, it should be stored in its own enclosure such
as a folder, envelope or plastic sleeve, then grouped in a box. Photos
which are handled very frequently should be stored in their own plastic
folders or sleeves so that they can be viewed without removing from the
enclosure. Plastic enclosures also protect the photo surface from fingerprinting
while it is being viewed. Remember, it is best to always hold a photograph
by its edges, supporting it from underneath with your hand. Individual
enclosures also protect from wear and tear and provide physical support
to fragile or damaged photos. Very fragile photos such as those with large
tears and breaks, brittle photos, photos with broken mounts or those with
a damaged surface can be put in one of the enclosures listed above with
a rigid piece of paperboard behind the photo for extra support. A less
expensive option for storage is to group photos in folders. This approach
is fine for photos that are in good condition and are rarely handled. Remember
that damaged photos can be copied or photocopied, and the copy used instead
to protect valuable originals.

Photographs can also be stored in plastic pocket pages and standard
size plastic sleeves, grouped in folders for organization, then stacked
in a box. Photographs 8 x10 inches or smaller can be stored vertically
on their long edges in standard size boxes which are available for many
photographic formats, including modern and nineteenth-century photographs.
Photos larger than 8 x 10 inches, or those with damaged edges (brittle,
torn) should be stored flat in small stacks inside standard size boxes.
Groups of similar sized photos which are all the same type, such as modern
4 x 6 inch color snapshots, or older 2-1/4 inch black-and white snapshots,
can be stored vertically or horizontally together without extra housings--photos
which are the same type are usually safe to store in contact with each
other. Boxes should be neither over stuffed or under filled. Over stuffing
causes damage when photos are pulled out or filed away; under filling causes
the photos to slump and curl.

Lastly, the safest, and most expensive, way to store photographs is
to mat them in high quality ragboard or matboard. This method is excellent
for photos that are to be framed and displayed.

Should I digitize my photo collection?
Is it safe to throw away my original film and prints after I digitize them?

You may want to digitize your photographs because it offers safe and
easy access to the images in your collection. Once your photographs have
been scanned, you can view them in electronic form and even make hard copies
without risking damage to the originals. Do not throw away your original
film and prints after you digitize them. Digitized images are not considered
a replacement for originals. Data (i.e. your images) can be lost when the
storage media deteriorates; and software and hardware technology become
rapidly obsolete, in some cases making retrieval of the images difficult
if not impossible. Information is available elsewhere on our site answering
the following questions:

How can I remove old tapes, make repairs, or
flatten rolled or curled photos?

These types of treatments should be referred to a trained conservator,
especially if the photograph is valuable or an heirloom. Not only is it
is easy to cause more damage when trying to repair a photograph, but special
(and expensive) tools and materials are usually required for most treatments.
Avoid the temptation to use heat, water or solvents on a photograph as
permanent damage can occur: heat causes colors to fade, plastics to melt,
and can scorch; water swells the gelatin emulsion on the photo surface
making it easy to rub off the image and color dyes; solvents can dissolve
components of many types of photographs, especially those from the nineteenth
century and early twentieth century, and will harm color photographs. NEVER
use household cleaners or detergents on or even near photographs. These
solutions or their vapors will irreversibly fade, stain, bleach, or even
dissolve the image (emulsion) side of the photograph!

Contact the Foundation
of the American Institute for Conservation (FAIC) for a referral in
your area and discuss the problem with a conservator. Under certain situations,
a conservator may be able to describe some methods you could try on a photograph
using common household materials if you are willing to risk more damage
to the photograph, especially if the photograph has very low value or importance,
or is being salvaged from a natural disaster and will be lost otherwise.

Never force flat a rolled photograph or a distorted mounted photograph
as the emulsion side (and paper) may crack like glass; a cracked emulsion,
like cracked glass, will always be visible. One way to safely see the inside
of a rolled photograph is to unroll a small section of it at a time, allowing
the free edge to roll or scroll up as you move along exposing the next
section. Resistance by the photograph at any time is a sign that it is
at the limit of stress and may crack if forced further.

Remember that faded and stained black-and-white photos can be photographically
copied, enhancing the image in the process. Also, damaged photos of any
type can be scanned into a computer and digitally enhanced to restore the
damaged areas to original appearance, then printed onto photographic papers.
Avoid copy prints made on computer printer paper as these fade quite fast
and are unusually sensitive to water!

What books are available about conservation of
documents or other materials?

Caring for Your Collections (Abrams, 1992) is a comprehensive,
practical guide aimed at the average collector. Divided into chapters according
to material, plus basic environmental guidelines, security, insurance and
appraisal values, authentication, and tax ramifications of donating art.
Available from the American
Institute for Conservation (AIC).

Preserving Archives and Manuscripts by Mary Lynn Ritzenthaler (Society
of American Archivists,1993), part of the Archival Fundamentals Series published
by the Society of American Archivists, is dedicated to archival collections and
manuscripts. Also, see Ritzenthaler's Holdings Maintenance Guidelines at this site.

How can I determine if I have an historic copy of the Declaration
of Independence?

Many printings of the Declaration
of Independence have been made. They vary in rarity and value, and it can
be confusing trying to figure out what printing you have. The most common printings
are souvenir versions. Many thousands of these copies have been sold over the
years in museum shops and elsewhere. Typically the souvenir copy is a reproduction
of the 1823 printing done by W.J. Stone. It depicts the handwritten text of the
parchment Declaration of Independence penned by Timothy Matlack in August 1776.
Facsimiles of the signatures appear at the bottom. The paper used for these copies
has generally been made to look old. The surface is crinkled and the color of
the paper is tan to dark brown. The ink is very black. On inspection with a magnifying
glass you may be able to see that the printing is made up of tiny dots. This
structure is typical of a machine-printed version.